Anyway, I thought I'd let you know, in case you're interested in hearing the soundtrack, that it is available to listen to on Grooveshark. Grooveshark is a site where people upload their music so that they have it wherever they are. But it benefits other people who want to hear a song before they buy it or just have a playlist of music on while they're working online. I personally don't want to listen to it on Grooveshark because I want it to be new and fresh when I buy it and hear the CD for the first time. :) Speaking of buying the soundtrack, here's a couple links: Amazon and Barnes and Noble.
And here's some news on the Soundtrack: Click here to read a story from Aslan's Country containing two reviews of the soundtrack (part of which i've pasted below) and an interview with the composer, David Arnold. In the interview he talks a bit about the musicians who play the music. Did you know they don't see it until they show up to rehearse it for about 5 minutes, then record it? Wow. They're pretty talented. Read the interview for more. :)
From Mfiles: Stylistically Arnold’s music is different Gregson-Williams’ but clearly from the same genre, so it feels like the new music is an evolution rather than a revolution for the Narnia series. The first thing you may notice about Arnold’s music is that much of it is quiet and gentle – a refreshing change from the relentlessly dark fantasy scores we have come to expect recently. Nevertheless this helps to reinforce the magical element of the C. S. Lewis books, and musically it allows the whole orchestra to shine. Rather than the heavy use of brass and strings, we can hear some much subtler orchestration with woodwind, percussion and harp shining through. Secondly although there is recurring thematic material, this is not one of those scores which constantly reiterates a single main theme. The effect is that the music is traditional but inventive, totally supportive of the film and yet carefully avoiding genre cliches.
Arnold’s new thematic material is a group of ideas presented in the “Opening Titles” with a characteristic descending figure. “The Painting” briefly turns darker with some rhythmic material before resolving back to the main theme, while “High King and Queen of Narnia” establishes the film’s place in the world of Narnia with a short recap of Gregson-Williams’ Narnia theme. Arnold’s new main theme recurs in various guises throughout the score (e.g. “Land Ahoy” and “Eustace On Deck”). “Reepicheep” and “Lord Bern” are excellent examples of the magical understated orchestration, with the harp arpeggiating the main theme in the latter. “Temptation of Lucy” is perhaps the lightest track of all, with harp, celeste and gentle woodwind creating a most ethereal cue. One of the consequences of keeping the score quietly in the background is that you get maximum contrast when the mood changes, for example “The Lone Island” is mostly quiet with a brief action interlude – a great contrast. Similarly there are some dark moments in “The Green Mist” which features some choral writing.